KNIGHT RIDER: GIVE ME LIBERTY... OR GIVE ME DEATH

EXEC. PRODUCERS: Glen A. Larson, Bob Foster
SUPV. PRODUCER: Joel Rogosin
PRODUCER: Steven E. de Souza

Production #57323
3rd Draft - December 20, 1982 (F.R.)

Teleplay: .................. David Braff
Director: .................. Bernard L. Kowalski

                              
                                 ACT ONE

     FADE IN

     OMITTED

     ANGLE - BANNER

     It reads:  ALTERNATIVE 2000.  Pull back to reveal we are at
     the site of a three-day cross-country race for alternative
     energy vehicles.  As the camera pans the area, we see
     several cars going through their practice runs, workers 
     putting the finishing touches to temporary grandstands that
     will accomodate the spectators, and cocktail waitresses
     distributing drinks to members of the press.  We also see
     the trucks which service each car and act as home base for 
     the mechanic crews.

     ANOTHER ANGLE

     Devon is shaking hands with Dr. Gordon Kempler, the 
     promoter of the race.  A fuzzy, idealistic man, Kempler has
     summoned his friend, Devon.

                               KEMPLER
               It's good to see you, Devon.  Thank
               you for coming.

                               DEVON
               What was so urgent?

     Kempler reaches into his pocket, takes out an envelope.

                               KEMPLER
               We've received one every day for the 
               last two weeks.  And it's always the 
               same message...your race is doomed.

     Devon takes the envelope and examines the letter.

                               DEVON
               Have there been other threats?

     Kempler shakes his head no.

                               DEVON
               Have any of the drivers received a
               similar letter?

                               KEMPLER
               Nothing's been reporter.

                               DEVON
               Perhaps this is nothing more than a
               contemptible hoax.

                               KEMPLER
               I hope you're right.  I just thought
               you should be aware of it.

                               DEVON
               I'm glad you told me.  I'm here to
               help any way I can.  The Foundation 
               believes very strongly in the devel-
               opment of alternative energy.

                               KEMPLER
               You don't have to remind me.  If it
               weren't for your support, staging
               this race would have been impossible.

     A waitress comes by.  The guys help themselves to some
     champagne.

     ANOTHER ANGLE

     A car passes nearby, heading out toward the practice area.
     It's a sleek, streamlined vehicle that impresses Devon.

                               DEVON
                      (impressed)
               Who's that?

                               KEMPLER
               Leslie Wendall.  From what I've seen
               in the trials, he's the man to beat.

     ANGLE - CAR

     As Leslie Wendall puts it through a high-speed test run.
     He loops around the run and is picking up more speed as he
     approaches a turn.

     INT. CAR

     Wendall applies his foot to the brakes.  They go straight
     to the floor.  His face reflects sudden panic as he 
     furiously pumps the brake pedal to no avail.

     EXT. CAR

     as it crashes through a barrier, does a flip and cannon roll
     before coming to a halt off the side of the road.  A fire 
     erupts under the hood and Wendall struggles to climb out of 
     his car.

     OMITTED

     ANGLE TO INCLUDE DEVON, KEMPLER

     as Wendall sprints to safety, the car explodes.

                               DEVON
               Omigod!

     Devon rushes toward the inferno, followed by Kempler.

     EXT. TRANS AM - NIGHT - STOCK

     Michael is heading for a rendezvous.

     OMITTED

     EXT. SEMI - NIGHT

     It is wheeling down the road.  Its ramp descends.

     EXT. TRANS AM - NIGHT

     It approaches the semi and gracefully glides up the ramp.

     INT. SEMI - NIGHT

     Michael is discussing the mission with Devon.  Bonnie opens
     K.I.T.T.'s door and begins fiddling under the dash.

                               MICHAEL
               Sounds to me like one of the drivers
               got a little overly competitive.

                               DEVON
               I agree that's a possibility.

                               MICHAEL
               A possibility?  Devon, You've got a 
               two hundred thousand dollar purse, 
               not to mention millions in potential 
               profits for the winner.  I'd say 
               that's sufficient incentive for 
               slipping a little boronic acid into
               your neighbor's brake fluid.

                               DEVON
               You're absolutely right, Michael.

                               BONNIE
               All we're saying is that there are 
               other...forces...who would not want 
               to deal with an affordable alterna-
               tive to the internal combustion 
               engine.

                               MICHAEL
               You're not suggesting that the oil
               companies, or Detroit, are out to 
               sabotage this race?
                      (beat)
               Are you?

                               DEVON
               At this point our goal is to insure 
               that no further disruptions occur.  
               Therefore, you've joined the field 
               as my personal entry.

                               MICHAEL
               Great.  Except for one thing.  Kitt 
               could win that race with one booster 
               tied behind his back.

                               DEVON
               Your job is not to win the race.  It's 
               to determine if there is indeed a
               saboteur.  And if there is, to put 
               him out of business.

                               MICHAEL
               I think I can handle that.

                               DEVON
               Good.  Bonnie can fill you in on
               Kitt's additions.  I suggest you get
               some rest, Michael.  The race begins
               at six am tomorrow morning.

                               MICHAEL
               Don't worry, Devon.  I'll be fresh
               as a daisy.

     Michael gives Devon a smile and moves over to Bonnie and the 
     car as Devon exits.

                               MICHAEL
               What you got cooked up here?

                               BONNIE
               I've augmented Kitt's scanning 
               system with a special infrared 
               Tracking Scope.

     Bonnie flicks a switch on the dashboard.

     INSERT - VIDEO MONITOR

     We see a grid that looks like a combination radar screen/
     video racing game.

                               BONNIE (v.o.)
               By monitoring the heat from their 
               engines, you'll be able to track the
               other cars within a ten-mile radius.

     BACK TO SCENE

     An impressed Michael gives Bonnie a hand as she climbs out 
     of the car.

                               MICHAEL
               That's great.  Now how about some
               dinner when you finish up here?

                               BONNIE
               I'd love to, Michael, but I'll be 
               spending the night with Kitt.
                      (beat)
               It's going to take a while converting
               his engines to run on liquid hydrogen.
               Then I've got to reprogram his....

                               MICHAEL
                      (stopping her)
               Okay, okay, I was just asking.  You 
               two have a good time together.
                      (to K.I.T.T.)
               And don't take advantage of her.

                               K.I.T.T.
               I won't.

                               BONNIE
                      (laughing)
               Will you get out of here?

     He smiles and leaves.

                               BONNIE
               Kitt, I hope you're not picking up 
               his warped sense of humor.

                               K.I.T.T.
               I'm trying my best not to.

     Bonnie sits in the driver's seat.

                               BONNIE
               Good.

     Suddenly she jumps a little like she's been pinched on the 
     bottom.

                               BONNIE
               Kitt!  Try a little harder.

     ANGLE - K.I.T.T.'S SCANNER

     He flashes it devilishly.

     EXT. TRANS AM - DAY - STOCK

     It's the next morning and Michael is on his way to the race.

     EXT. STAGING AREA - DAY

     The camera's sweep takes in the bustle and activity.
     Mechanics, onlookers and participants mingle around the 
     cars.  The grandstands are filling up at the starting line.
     There are vendors selling junk food, a high school marching
     band (with majorettes) and as much hoopla as possible.

     ANGLE - TRANS AM

     Michael pulls into the staging area and parks.  Some of the 
     spectators see K.I.T.T. and come over and ogle.  Among them
     is a bouncy young lady in tight jeans and a racing jacket.
     She is Liberty Cox, a hip twenty-five-year-old photojournalist
     for New Wheels Magazine.  She carries a large, well-worn,
     multi-zippered leather bag slung across her shoulder.
     An expensive camera dangles from her neck.  Standing a few
     feet away from Michael, she silently lines up a shot with
     her camera.  When it clicks, Michael turns around.

                               LIBERTY
               Nice body.

     Liberty runs her hand along K.I.T.T.'s fender.

                               LIBERTY
                      (smiles)
               Nice car, too.
                      (beat)
               You must be the late entry.  I'm
               Liberty Cox...with an 'X'.

     She extends her hand.  Michael shakes it, admiring her
     charms.

                               MICHAEL
               Michael Knight...with a 'K'.

     Liberty is intrigued by K.I.T.T., starts looking at the 
     dashboard.

                               LIBERTY
               You win the prize for wildest 
               dashboard, hands down.

                               MICHAEL
               Yeah?  Where do I pick it up?

                               LIBERTY
               I'll find out and let you know.

     They smile at each other, expressing a mutual interest.

                               PA VOICE
               Will all drivers please report to
               the main tent.  All drivers to the 
               main tent.  Thank you.

                               LIBERTY
               It's just over there.

     We see the tent nearby and the various drivers streaming
     toward it.  Liberty starts walking with Michael.

                               LIBERTY
               Mind if I ask you a question?

                               MICHAEL
               That depends on the question.

                               LIBERTY
               How does a guy like you get his 
               hands on a machine like this?

     Michael doesn't want to answer that.

                               MICHAEL
               I won it in a poker game.

                               LIBERTY
               You must be some kind of card player.

     They arrive at the tent as the last of the drivers enter.
     There is a lean, authoritative man standing at the entrance
     to the tent.  He is Ed Shaw, the race coordinator.

                               MICHAEL
               Hi, I'm driving for Devon Miles.

                               SHAW
               So you're Michael Knight....

     Shaw extends his hand.  They shake.

                               SHAW
               Ed Shaw.  Race coordinator.
                      (re: K.I.T.T.;
                       admiringly)
               I'd say whoever built your car knew 
               what he was doing.

                               MICHAEL
               He sure did.

     Michael starts to enter tent.

                               SHAW
               Best of luck.

                               MICHAEL
               Thanks.

     He is about to enter the tent with Liberty right behind 
     him.  Shaw puts out a hand, stopping her.

                               SHAW
               Where do you think you're going?

                               LIBERTY
               I beg your pardon.

                               SHAW
               This meeting is for drivers only.

                               LIBERTY
                      (bluffing)
               Do you happen to know who I am?

                               SHAW
               I sure do, lady.  That's why you're 
               staying put right here.

                               MICHAEL
                      (to Liberty)
               Catch you later.

     ANGLE - LIBERTY

     She gives Shaw a dirty look as Michael enters.  Follow her 
     as she goes back to K.I.T.T., looks at the car for a beat,
     then goes for the door handle.

     INSERT - HANDLE

     She is unable to open it.

     BACK TO SCENE

     Frustrated, but undaunted, Liberty takes her lens cap off,
     focuses up close and tries to get a shot of K.I.T.T.'s
     dashboard through the window.  She is startled to see the 
     window suddenly darken, preventing her from taking a 
     picture.  She reacts to the amazing transformation.

     INT. TENT - DAY - (OR BRIEFING ROOM)

     Shaw stands near a map of the race.  Tighten on the map to 
     see the course of the race is a circle.  The starting line 
     is the same as the finish line.  The drivers are assembled 
     in front of the map.  They eye each other distrustfully.
     Michael reacts to the tension.  We pick Shaw up as he 
     finishes diagramming the race.

                               SHAW
               Now, remember, you'll be clocked at 
               the two overnight pit stops.  Best 
               total time for the three days
               wins...Doctor Kempler and I have 
               designed this course to challenge 
               you.  Not every road is going to be 
               in top notch condition.  Now, I 
               realize what's at stake...but let's 
               be careful out there....

     The drivers start for the door.

                               SHAW
               One more thing.  In case you haven't
               already noticed, we have a new 
               driver.  Meet Michael Knight.

     Everyone looks at Michael.

                               SELLERS (v.o.)
               Ed, can I say a few words?

     ANGLE - CLARK SELLERS

     Standing by the door, dressed in a safari coat and
     sunglasses, Sellers has the look of a self-made mogul,
     which he is.  He owns the Sellers Cable Network which has
     the exclusive TV rights to the race.  Sellers wants to say
     a few words.  The drivers stop to listen.

                               SELLERS
               I'm Clark Sellers and I just want to 
               tell you how excited the Sellers 
               Cable Network is to be broadcasting 
               this race.  Go out there and show 
               the world that the future of al-
               ternative energy -- and cable TV
               -- is now.

     OMITTED

     EXT. STAGING AREA

     Michael is holding his piece of paper as he walks toward
     K.I.T.T.  He sees Dorothy giving her car a once-over and 
     approaches her.

                               MICHAEL
               Hi, there.  What's your starting 
               position?

                               DOROTHY
               Four.

                               MICHAEL
                      (holds up
                       his number)
               I'll be right behind you.

                               DOROTHY
               What a reassuring thought.  Before
               you go any further, Mr. Knight, I
               think you should know I have no 
               intention of making friends here.
               I'm interested in two things.
               Finishing first -- and doing so in 
               one piece.  Now if you don't mind....

     She gets into her car.

                               MICHAEL
               I guess I'll see you at the finish
               line.

     Liberty enters the shot as Michael walks over to K.I.T.T.

                               LIBERTY
               Nice try.

     Michael walks around K.I.T.T. checking to make sure he's 
     ready to go.

                               MICHAEL
               Thanks.  I didn't get a chance to
               ask Ed Shaw who you were.  Want to 
               tell me?

                               LIBERTY
               I already told you.  Liberty Cox.
               With an....

                               MICHAEL
               'X'.  I know.  What I meant was, why
               were you trying to sneak into that 
               meeting?

                               LIBERTY
               I'm covering the race for New Wheels
               Magazine.

     She unsnaps her jacket, revealing a tee shirt embossed with 
     the logo-lettering of New Wheels Magazine.

                               LIBERTY
               Ever read it?

                               MICHAEL
               Once or twice.

                               LIBERTY
               Actually, I'm not going to just 
               cover the race, I plan to experience 
               it.  If you know what I mean...give 
               my readers a little insight into what 
               it's like to ride in an event like 
               this.  I imagine it's terrifically 
               stimulating.

                               MICHAEL
               It is.

                               LIBERTY
               How would you like to show me?

     Michael and Liberty stare into each others' eyes as she 
     waits for an invitation to join him.  None is forthcoming.

                               MICHAEL
               Sorry.  I travel solo.

     ANOTHER ANGLE

     The Prince brothers drive up in the Charger like they were 
     cruising Van Nuys Boulevard.  Sonny pounds the side of his 
     door and leans out the passenger side, calling out to 
     Liberty.

                               SONNY
               Hey, sweetheart, how'd you like to 
               ride in the lead car?

                               MICHAEL
               There you go.

                               LIBERTY
               No thanks, boys.

                               LESTER
               You don't know what you're missing.

     Helmut Gras, in his Porsche, pulls up behind the Charger 
     and honks his horn loudly.

                               GRAS
                      (angrily)
               Get out of the way, you fool.

                               SONNY
               Who you calling a fool, schnitzel 
               breath.

     As they argue, Michael gets into K.I.T.T., shuts the door.

                               MICHAEL
                      (to Liberty)
               See you at the pit stop.

     Michael drives away.  Liberty watches him go, curses 
     silently, then goes over to the Japanese, Hito Osaka, who 
     drives a Toyota.  She sticks out her thumb and Osaka 
     gestures for her to join him.

     OMITTED

     ANGLE - STARTING LINE

     The cars file into line.  The Charger is first.  Kempler
     holds the flag.  Shaw has a stopwatch and clipboard.

                               PA VOICE
               Ladies and gentleman, in car number 
               one, fueled by their uncle's original
               recipe, Sonny and Lester Prince.

     Kempler drops the flag.  Shaw starts his stopwatch, and the 
     race begins.  As the Princes drive off with a rebel yell, a 
     stash of balloons is released, television cameras roll and 
     the audience applauds.

                               PA VOICE
               In car number two, driving what 
               might be the most advanced electric
               automobile in the world, from West 
               Germany, Helmut Gras.

     Kempler indicates he can start and Gras quickly accelerates,
     Shaw recording his starting time.  (He follows the same 
     procedure for all six cars, and it happens very quickly.)
     Osaka pulls up to the starting line.  Liberty is with him.
     After the intro, each car takes off.

                               PA VOICE
               In the third car, from Japan,
               running on propane, Hito Osaka...
               In a solar-powered vehicle we have 
               Dorothy Arnold....

     OMITTED

     ANGLE - TRANS AM

     waiting to start.

                               MICHAEL
               Ready, Kitt?

                               K.I.T.T.
               Michael, do you realize that this 
               whole race is unnecessary?

                               MICHAEL
               How's that?

                               K.I.T.T.
               I am the car of the future.

                               MICHAEL
               I know, Kitt.  But I don't think 
               you'd want to be mass produced.

                               K.I.T.T.
               You've got a point there.

                               PA VOICE
               From Los Angeles, running on liquid 
               hydrogen, Michael Knight.

                               MICHAEL
               Let's go.

     Michael takes off as the Islamic Dune Buggy drives up.

                               PA VOICE
               Next up from the Sheikdom of Kuwait,
               Hashi Al Qatar.

     He takes off leaving two ND cars left to start.  But we....

                                              CUT TO

     EXT. RACE - VARIOUS ANGLES - DAY

     The cars are bunched as they head into the open spaces.  We 
     see that each driver is very intense as they jockey for 
     position.  They come close to bumping each other.

     ANGLE - DUNE BUGGY

     Hashi has been driving particularly ferociously.  As he 
     spins around a turn and heads up toward the highway, he 
     pulls abreast of the Porsche which is in the lead.  As they
     barrel down the road we see that two lanes narrow into one.

     ANOTHER ANGLE

     As the two cars come toward the camera, it's neck and neck
     to see who gets the inside track on the lane and wins this 
     initial game of chicken.

     ANGLE - PORSCHE

     as it overtakes the dune buggy, gains the single lane and 
     causes Hashi to swerve and spin out on the side of the road.

     ANGLE - HASHI

     as he mutters silent oaths to the aggressive driver of the 
     Porsche.  He watches as the other cars pass then pulls back
     onto the road and joins the race.

     INT. TRANS AM - DAY

     Michael has just witnessed the incident.

                               MICHAEL
               No doubt about it, these guys are 
               playing for keeps.

                                       QUICK DISSOLVE TO

     EXT. MOUNTAIN ROAD - DAY

     From a high angle, we see the Toyota, Porsche and Charger
     in the lead positions.

     ANGLE - TRANS AM

     by itself.

                               MICHAEL
               Kitt, I think it's time you gave
               me a rundown of the rest of the
               field.

                               K.I.T.T.
               As you wish, Michael.  Beginning 
               with the letter 'A' there's Dorothy
               Arnold, the woman you attempted to
               pick up....

     INSERT - VIDEO MONITOR

     We see a sketch of Dorothy Arnold.

                               MICHAEL (v.o.)
               Kitt, I was just trying to be 
               friendly.

                               K.I.T.T.
               Whatever.  She is the daughter of 
               Henry Arnold.

     BACK TO SCENE

                               MICHAEL
               I hope you're going to tell me who
               he is.

                               K.I.T.T.
               The President of Arnold Automotive,
               Incorporated.

                               MICHAEL
               Hmm, kind of makes you wonder why 
               she's driving a solar-powered car.
                      (beat)
               Do you have a read on her?

     Michael pushes a button on the dash.

     INSERT - VIDEO MONITOR

     We see the tracking scope in action.

                               K.I.T.T. (v.o.)
               She's approximately two miles behind 
               us.  I'll decrease my speed so she
               can catch up to us.

     BACK TO SCENE

                               MICHAEL
               Good idea.

     EXT. SOLAR CAR

     Dorothy is tooling along.

     OMITTED

     ANGLE - TRANS AM 

     It passes in front of a hill.  We pull back to a vantage 
     point from atop the hill.  Presently a rifle enters the 
     shot.  (The camera is over the shoulder and we can't see
     who's holding the gun.)

     ANOTHER ANGLE THROUGH A TELESCOPIC LENS

     The sniper is lining up the Trans Am.  As it enters the 
     center of the target and the sniper is about to fire....

                                              FREEZE FRAME

                         END OF ACT ONE

                            ACT TWO

     FADE IN

     EXT. MOUNTAIN ROAD - DAY - ANGLE TRANS AM

     It is racing down the road when a shot rings out.

     ANGLE - K.I.T.T.'S TIRE

     A bullet hits the indestructible tire and ricochets.

                               MICHAEL (v.o.)
               Kitt, what was that?

                               K.I.T.T.
               We're being shot at.

     ANGLE - GUNMAN - OVER THE SHOULDER

     Seeing that the Trans Am has not been damaged, the gunman
     spots the solar car, takes aim and fires.

     ANGLE - TRANS AM

     Michael stops the car.

                               K.I.T.T.
               Michael, there's been another shot.

     INSERT - VIDEO MONITOR

     The dot representing Dorothy's car swerves.

                               K.I.T.T. (v.o.)
               The solar car's been hit.

     ANGLE - SOLAR CAR

     Dorothy is fighting to regain control of her vehicle.  She 
     is unable to and the car swerves to the right, then does a 
     quick, out-of-control three-sixty.  She continues to spin 
     out, crossing the highway and crashing through a protective 
     barrier and off the side of the road.

     ANGLE - CAMERA CREW

     Tucked along the side of the road two men have their camera 
     set up to record the action.  When they see Dorothy in 
     jeopardy, the Cameraman excitedly points to the scene and 
     exhorts his partner to get it on film.

                               CAMERAMAN
               Are you getting all of this?  Zoom 
               in on the solar car.  Damn.  This is
               better than the French Connection.
               And it's for real.  I love it!

     The operator swings the camera and films Dorothy's spin-out.

     OMITTED

     EXT. TRANS AM 

     It arrives on the scene, pulls to a stop.

                               K.I.T.T.
               Michael, I'm picking up her vital
               signs.  I don't think seriously
               injured.

                               MICHAEL
               No, but she's probably scared to 
               death.

     Michael jumps out, goes to the side of the road, looks down.

     OMITTED

     MICHAEL'S POINT OF VIEW - ANGLE OFF SIDE OF ROAD

     The solar car is wrapped around a tree a short way down a 
     steep canyon.  Dorothy is climbing out of the twisted wreck.

                               MICHAEL
                      (yelling)
               Stay there.  I'll throw down a line.

     Dorothy acknowledges Michael with a wave.

                               MICHAEL
               Kitt, we're going to need the 
               grappling hook.

     ANGLE - K.I.T.T.

     The grappling hook shoots out and flies down the canyon
     wall.

     ANGLE - SOLAR CAR

     The hook lands near the car.  Dorothy moves to it.

                               MICHAEL
               Start climbing.

     Dorothy starts pulling herself up on the rope.  Michael
     goes down about halfway and pulls her up to safety.

     ANGLE ON THE ROAD

                               DOROTHY
               Thank you.
                      (long beat)
               I don't know what else to say.

                               MICHAEL
               That's okay.

                               DOROTHY
               I mean after the way I acted before
               ...You're very kind.

                               MICHAEL
               You'd do the same for me.

     Dorothy knows she wouldn't, so she doesn't respond.

                               MICHAEL
               What happened here?  How did you lose
               control?

                               DOROTHY
               It must have been a blowout.  At
               least that's what it sounded like.

                               MICHAEL
               You gonna be okay?

                               DOROTHY
               Yeah.  As soon as I stop shaking.

                               MICHAEL
               Wait here.  I want to take a look at
               your car.

     OMITTED

     ANGLE - MICHAEL

     He quickly climbs the rope to the damaged car while Dorothy
     waits on top.  He goes to the tire and sees a gaping hole.
     Michael removes something from the mangled tire.

     INSERT - MICHAEL'S HAND

     He cups the remnants of a bullet.

     ANGLE TO INCLUDE DOROTHY

                               DOROTHY
               Was I right?

                               MICHAEL
                      (lying)
               Yeah, you must have run over
               something.

     Michael looks at his hand pensively.

     OMITTED

     EXT. FURNACE SPRINGS SPA PARKING LOT - DAY

     All the drivers except Michael have arrived.  There is much
     commotion and activity in the parking area.  Shaw is getting 
     all the times recorded, the cameras are running.  The mechanic
     crews check out each car.  A banner proclaiming "Welcome 
     Alternative 2000" is strung above the site (or lettered on 
     the hotel marquee).

     ANGLE - LIBERTY

     She is in a crowd of mechanics and reporters, and the
     Cameraman with his operator.  They are crowded around Helmut
     Gras.  Liberty holds her tape recorder and tries to get his
     attention.

                               LIBERTY
               Helmut, congratulations.  Are you
               surprised that you won the first leg?

                               GRAS
               Winning never surprises me.  I'm
               used to it.

     Hashi, standing away from the crowd, but overhearing,
     replies.

                               HASHI
               Just as you must be used to cheating.

                               GRAS
               Racing is a contact sport, my friend.

                               HASHI
               Is that so?

     Hashi stalks away.

                               CAMERAMAN
               Helmut, some of the drivers say they
               heard a gunshot before Dorothy Arnold's
               tire blew out....

                               LIBERTY
               Really?

                               CAMERAMAN
               Did you hear anything?

                               HELMUT
               I was not in the vicinity of the 
               accident.

     ANOTHER ANGLE

     The Trans Am enters the parking lot.  Michael passes Shaw,
     who records his time, then pulls up next to the semi where 
     Bonnie is waiting along with Clark Sellers.  Liberty, a 
     camera crew and various curious onlookers rush over as 
     Michael and Dorothy get out.  Sellers gives her a hand.

                               LIBERTY
               There she is!

     As Dorothy gets out of K.I.T.T., she is mobbed.

                               LIBERTY
               Dorothy, can I ask you a few 
               questions.  We just heard there
               might have been a gun....

     ANGLE - SELLERS

     He fights through the crowd to get to Dorothy.

                               SELLERS
               Can I get through.  Will you clear a 
               path...Thank you.

     He arrives just as Liberty is about to finish her question.

                               SELLERS
               Stop this at once.

     Liberty backs off.  Sellers is indignant.

                               SELLERS
               How can you hound her like that 
               after what she's been through?

                               LIBERTY
               Hey, I'm just trying to find out....

                               SELLERS
               Your questions can wait, Miss Cox.
               Come on, Dorothy, they're waiting
               for you at the first-aid station.

                               DOROTHY
               I'm all right.  Really.

                               SELLERS
               Just a precaution.  Right this way.

     He directs Dorothy to the hotel, taps his Cameraman on the 
     shoulder.

                               SELLERS
               As soon as she comes out, get some 
               quotes to go with footage.

     The Cameraman gives him the okay sign.

     ANOTHER ANGLE 

     Michael and Bonnie watch the carnival-like atmosphere of 
     the group surrounding Dorothy.

                               BONNIE
               How's Kitt holding up?

                               MICHAEL
               Fine.  But you might want to run a 
               check on his compressors.

                               BONNIE
               That's probably a good idea.

     Michael takes the bullet from his pocket and discreetly 
     places it in Bonnie's hand.

                               MICHAEL
               And while you're at it, run a check 
               on this.

     As Bonnie looks at the bullet and then at Michael with 
     uncertainty....

                                              DISSOLVE TO

     EXT. HOTEL BUILDING - NIGHT - ESTABLISHING

     INT. HOTEL BAR

     As the camera pans the room, we see Michael at a table with
     Gras, Hashi and Osaka.  At another table Devon sits with 
     Kempler.  Through the glass we see Liberty and the Prince 
     brothers in an outdoor jacuzzi.

                               OSAKA
               You have to be disappointed with 
               your time today.

                               MICHAEL
               Don't worry about me.  I'll catch up.

                               GRAS
                      (smiling)
               I'm sure you'd have finished sooner 
               if you hadn't stopped to help poor 
               Miss Arnold.

                               HASHI
               We know you would never have stopped 
               to help her.

                               GRAS
                      (irked at 
                       the Arab)
               Accidents are a part of every race.

                               OSAKA
               The question is, will they continue 
               to happen in this race.

                               HASHI
                      (pointing 
                       angrily
                       at Gras)
               They will the way he drives.

     The German and the Arab glare at each other.  Michael gets 
     up to leave, raises his glass and toasts.

                               MICHAEL
               Guys, here's to good sportsmanship.

     No one drinks.

                               MICHAEL
               Adios.

     He walks toward the outdoor area.

     OMITTED

     ANGLE - HOT TUB

                               LESTER
               Hey, what's with all the questions?
               We thought you wanted to party.

                               LIBERTY
               Wrong.

     Liberty sees Michael.  She rises out of the tub wearing a 
     clinging tank suit.  She grabs a towel.

                               SONNY
               Hey, you don't have to get out.

                               LIBERTY
               Oh, I do.  You guys are so un-
               bearably sexy I don't think I can 
               control myself much longer.

     She heads over toward Michael who has come outside.

                               SONNY
               I told you she's got the hots for us.

                               LESTER
               Then why's she going over to him?

     ANGLE - MICHAEL AND LIBERTY

     He smiles as she walks up to him.  During their conversation
     he sips a beer while she dries herself and puts on a robe.

                               LIBERTY
                      (charming smile)
               Hey, I remember you.

                               MICHAEL
               I've been meaning to ask you, how
               did you ever get a name like Liberty?

                               LIBERTY
               My father wanted a belle.

     Michael chuckles a little.

                               MICHAEL
               Sorry.

                               LIBERTY
               You seem rather calm for a man who 
               may be the next one to go.

                               MICHAEL
               I take it you're referring to the
               gunshot rumors.

                               LIBERTY
                      (nods)
               Call it a journalistic hunch, but I 
               think someone's out to win this race 
               by whatever means it takes...like by
               eliminating the competition.

                               MICHAEL
               Am I a suspect?

                               LIBERTY
               I don't know.  Are you?

     OMITTED

     ANGLE - ED SHAW

     He enters the bar, looks around, sees Kempler and heads for 
     the table.

     ANGLE - DEVON AND KEMPLER

     The doctor looks like he's under major stress.

                               KEMPLER
               Devon, in light of what your driver 
               discovered, the only sane thing to
               do is call off the race.

                               DEVON
               Is that what you want to do?

                               KEMPLER
               Of course not, but if there is a 
               saboteur out there....

                               DEVON
               We don't know that for sure yet.
               Give Michael a little more time.

                               KEMPLER
               Can we afford to?

     Shaw arrives.

                               SHAW
               Doctor Kempler, I have to speak to 
               you.  In private.

                               KEMPLER
               Ed, I'm not going to keep any
               secrets from Devon.  Sit down and 
               let's hear what you have to say.

                               SHAW
               I think you better come with me.
               Both of you.

     The men exchange looks, then get up from the table.

     ANGLE - MICHAEL AND LIBERTY

     They are sitting at an outdoor table.  She sees the three
     men exit.

                               LIBERTY
               Look, I've got to go up and change.
               Can we continue this conversation 
               later?

                               MICHAEL
               How about over a nightcap?

                               LIBERTY
               Sounds perfect.  My room number is
               207.

     She walks away.

                                              CUT TO

     INT. HOTEL ROOM - NIGHT

     Devon, Kempler and Shaw stand solemnly around the bed.  A 
     nervous Spanish chambermaid figets nearby.  On the bed is a 
     small, unopened rifle case.

                               SHAW
                      (to the maid)
               You can go now.

     The maid nods and hastily makes her exit.

                               SHAW
               She said she found it under the bed.

     Shaw flips open the case.

     INT. HOTEL HALLWAY - NIGHT

     The maid comes out of the door.

                               LIBERTY
               Senora, uno momento, por favor.

     Liberty motions for the maid to join her and they duck into 
     the supply room.

     INT. HOTEL ROOM - NIGHT 

     The case is now open, revealing a disassembled rifle, the 
     one we saw fire at the solar car.

                               KEMPLER
               What is it?

                               DEVON
               A collapsible Wheatherby 850.  A
               highly sophisticated, long-range 
               rifle.  You don't see many of these
               nowadays.

                               KEMPLER
               Devon, is it capable of firing the
               bullet that was in the tire?

                               DEVON
               Yes, it is.

     ANOTHER ANGLE

     Hashi enters the room.  He stops dead in his tracks.

                               HASHI
               What is the meaning of this?  What
               are you doing in my room?

                               SHAW
               Trying to figure out what this is 
               doing in your room.

     Shaw points to the gun.  Hashi sees the weapon and gasps in
     surprise.

     EXT. HALLWAY - NIGHT

     Michael is talking to Devon but we cannot hear what they 
     are saying.  After a beat, Devon pats Michael's shoulder,
     smiles and leaves.  Michael walks down the hallway.

     INT. MICHAEL'S ROOM - NIGHT

     Liberty is lying on the bed writing in a notebook when the 
     door opens and Michael enters.  She smiles excitedly.

                               LIBERTY
                      (talking fast)
               You can breathe easy again.  The
               ordeal is over.  Naturally my hunch 
               was right on target.  Turns out it 
               was the Arab, though I kind of 
               thought it might be the German...
               Anyway they just found the smoking 
               gun in his room so it looks like 
               the crisis is over.  And I've got 
               a hell of a story.

     She writes something on her pad.

                               MICHAEL
               Weren't we supposed to meet in your
               room?

                               LIBERTY
                      (looks up)
               I thought I'd surprise you.  I hope 
               you don't mind.

                               MICHAEL
                      (angrier)
               As a matter of fact, I do.

                               LIBERTY
               Don't get so upset.

                               MICHAEL
               I can't help it.  I always get upset
               when someone breaks into my room.

                               LIBERTY
               Hey, I was just trying to be 
               spontaneous.  I figured this would 
               be a great opportunity to find out 
               what makes a man like you tick.

                               MICHAEL
               I don't think your readers would 
               find me all that interesting.

     Liberty closes her notebook, gets off the bed and 
     approaches Michael seductively.

                               LIBERTY
               Who cares about my readers.  I think
               you're very interesting.

     She puts her hands on Michael's waist.

                               LIBERTY
               Are you going to be mad at me all 
               night?

                               MICHAEL
               Unless you give me a reason not to be.

     She puts her arms around him and kisses him passionately.

                               LIBERTY
               Is that reason enough?

                               MICHAEL
               No, but it's a start.

     Michael returns the kiss.

     INT. BAR - NIGHT

     Devon stands with Kempler and Sellers as they watch two
     policemen lead Hashi through the lobby toward their 
     waiting car.  Hashi is visibly enraged.

                               HASHI
                      (screaming)
               This is an outrage.  I've never seen
               that rifle before in my life.  You
               can't do this to me.  I warn you.
               If I'm jailed my country will lodge 
               a formal protest.

     As the drivers in the bar watch, Hashi is taken out the 
     door.

                               SELLERS
               How do you like that?  There
               actually was a saboteur.
                      (to Kempler)
               I wish you would have told me.  I
               could have gotten this on film.

                               KEMPLER
               It's bad enough publicity as it is.

                               SELLERS
               Well, you're right about that.

                               KEMPLER
               Devon, will you let me buy you a
               drink?  God know, I need one.

                               DEVON
               Well, I certainly think there's 
               reason to celebrate.

                               KEMPLER
               I hope so.  All this commotion is 
               making me a nervous wreck.

                               DEVON
               You can relax now.  I think it's 
               safe to say this case is closed.

     EXT. HOTEL PARKING LOT - NIGHT - CLOSE ON AN ENGINE

     All we can see is the engine of a car.  We don't know which
     car.  A pair of hands enter the shot and place a small 
     device, obviously some kind of compact explosive, inside
     the motor.  Hold on the unidentified hands doing their 
     dirty work and....

                                              FADE OUT

                         END OF ACT TWO

                           ACT THREE

     FADE IN

     EXT. MOTEL STAGING AREA - DAY

     The cars are being rolled into position, Shaw supervising
     the crews, giving last minute instructions to the drivers
     etc.  The assembled press is being rounded up and forced to
     gather behind a rope barricade.  Pan from this activity to
     the motel where we see Michael appear, coming toward the
     staging area.  He's joined by Devon.

     MICHAEL AND DEVON - MOVING SHOT

     Ad-lib hellos.

                               DEVON
               All set for another day of dust and
               dirt?

                               MICHAEL
               Dust, dirt and destruction.

                               DEVON
               Let's hope not.  Mr. Qatar
               has been disqualified.  Not to
               mention, arrested.

                               MICHAEL
               I don't think he did it, Devon.

                               DEVON
               The police are doing ballistics 
               tests on the rifle and the bullet.

                               MICHAEL
               Even if they match it doesn't mean 
               Hashi pulled the trigger.

                               DEVON
               No, but just because he was driving 
               doesn't mean he didn't, either.  He
               could have pulled off the road, 
               assembled the rifle, fired, and in
               the confusion slipped back into the 
               race.  Don't forget, he comes from 
               one of the leading petroleum 
               exporting countries in the world.

                               MICHAEL
               I still think I should stay in the 
               race.

                               DEVON
               Are you sure it's not because you 
               want to win?

                               MICHAEL
                      (smiling)
               You know me better than that.

                               DEVON
               By the way, I phoned your room last
               night.

                               MICHAEL
               That was you?

                               DEVON
               You were there?  Why didn't you
               answer?

                               MICHAEL
               I was engaged in a little...research.

                               DEVON
                      (smiles)
               Really?  With whom?

                               LIBERTY'S VOICE
               Michael!

     ANGLE TO INCLUDE LIBERTY

     She bounds over from the staging area, tote bag over her
     shoulder, looking lovely and fresh in her T-shirt and 
     jeans.  Devon smiles.

                               DEVON
                      (to Michael)
               Discussing neo-journalism, no doubt.

                               MICHAEL
               I'm a man of insatiable curiosity.

                               DEVON
               Indeed.

     Devon smiles and veers off toward the staging area.

                               DEVON
               If you'll excuse me, I have a few
               details to tend to.

     Liberty kisses Michael, joins him as he continues to the
     staging area where the Trans Am waits with the other cars.

                               LIBERTY
               What a glorious day!  A double-header 
               -- I get you and a ride in that 
               mysterious black beauty.  I've 
               arranged for sandwiches, a cooler,
               fried chicken, iced tea ---

                               MICHAEL
                      (pained)
               Liberty...I'm sorry, but you can't ride 
               with me today.

                               LIBERTY
               What?!

     She stops in her tracks.  Michael inhales.

                               MICHAEL
               It's not my decision, it's 
               Mr. Miles'.

                               LIBERTY
               I don't believe you.

                               MICHAEL
               It's true.  He ---

                               LIBERTY
               Didn't last night mean anything to 
               you?  Don't answer that.

     She storms off to the staging area.

                               MICHAEL
               Liberty ---

                               LIBERTY (o.s.)
               I don't beg rides, Michael Knight.
               Rides beg me.

     The door to the Charger pops open and Lester and Sonny jump
     out.  Lester falls to his knees in a begging position.

     ANGLE - FEATURING MICHAEL

     crossing to K.I.T.T., he can't help but watch.  He sees 
     Sonny and Lester do their MOS act to persuade her.  She 
     looks defiantly at Michael and joins them.  Lester lets 
     out with a rebel yell.

     INT. K.I.T.T. - DAY

     Michael slides in, surprised to see Bonnie under the dash.
     She comes up, smiles.  Ad-lib hellos.

                               BONNIE
               All set.  I wanted to see if I could 
               extend the Tracking Scope's range.

                               MICHAEL
               Did you?

                               BONNIE
               No.  But I see you extended yours.

     She glances in the direction of Liberty, climbing into the
     Charger.  Michael laughs.

                               MICHAEL
               We all contribute according to our
               capabilities.

                               BONNIE
                      (smiles)
               I wouldn't touch that with a ten-foot
               pole.  Incidentally, I've added some
               updated profiles...should you find
               yourself in the mood.  Good luck.

     She leaves.  Michael starts K.I.T.T.

                               K.I.T.T.
               Busy morning?

                               MICHAEL
               You could say.

                               K.I.T.T.
               Did Liberty Cox ever find out what 
               makes you tick?

                               MICHAEL
                      (reacts)
               Kitt, didn't anyone ever tell you not
               to eaves drop?

                               K.I.T.T.
               I had no choice.  After all, I was in 
               Surveillance Mode.

     Michael winces, remembering.  Wondering how much K.I.T.T.
     heard.  He pulls over to the starting line.

     ANGLE AT STARTING LINE

     The various cars gear their engines.  Ed Shaw stands facing
     them, waving a starting flag in the air.  At his signal the
     cars roar off in a cloud of dust.

                                              CUT TO

     EXT. RURAL ROADS - DAY - VARIOUS ANGLES

     The race is going full tilt through the rustic terrain.  
     From a high angle we see the Toyota, the Charger and the 
     Porsche vying for the lead.  The Trans Am places itself 
     strategically between the lead cars and the rest of the 
     pack.

     OMITTED

     ANGLE IN TRANS AM

     Michael is keeping pace.  He presses K.I.T.T.'s computer 
     console button.

                               MICHAEL
               Let's run Bonnie's updated profiles 
               on the remaining drivers and key 
               personnel.

                               K.I.T.T.
               Does the phrase 'key personnel' 
               include Miss Liberty Cox?

                               MICHAEL
               Good idea, Kitt.  Let's start with 
               Miss Cox.

     The computers whir and flash.

                               K.I.T.T.
               Shall we begin with personal data or 
               criminal activities?

                               MICHAEL
                      (reacts)
               Criminal activities?  Surely you
               jest.  The lady may be many things, 
               Kitt, but she's no criminal...is she?

                               K.I.T.T.
               You tell me.  June, 1980, breaking 
               and entering.  Bailed out by her 
               editor.  September, 1980, malicious 
               mischief.  Bailed out by her 
               publisher....

     EXT. RACE - DAY

     The Trans Am continues, moving away from camera.  The 
     litany continues.

                               K.I.T.T.'S VOICE
               January, 1981, invasion of privacy.
               Bailed out by her father.  May,
               1981, breaking and entering again....

     Continuing, the voice fades.

                                              CUT TO

     EXT. CHARGER - DAY

     It rattles and bangs over the bumpy road, the sound of 
     laughter over.

     ANGLE IN CHARGER

     The Prince brothers are having a great time in the front 
     seat.  Lester is at the wheel.  Sonny rides shotgun.  A 
     discontented Liberty is in back, which is a makeshift bed-
     room on wheels.

                               LIBERTY
               Can't you go any faster?

                               LESTER
               What, and miss all the scenery?

     They laugh, enjoying themselves immensely.

                               LIBERTY
               Don't you want to win the race?

                               SONNY
               What for?

     Liberty shakes her head.  Sonny hoists a plastic fuel can 
     and drinks from it, offers it to Liberty.  She stares, 
     appalled.

                               SONNY
               Sure you don't want a pull?  Gets 
               your motor running, that's for sure.

     They howl at her reaction.

                               LIBERTY
               It's people like you who give 
               something serious like alternative 
               fuel a bad name.

                               LESTER
               Bad name hell -- we love it.

     They drink more from the fuel can.  Sonny tries to sneak a 
     kiss.

                               LIBERTY
               Okay, that's it.  Stop the car.

                               SONNY
               What for?

                               LIBERTY
               I want out.

                               SONNY
               Listen, we're only foolin' with you.
               We're gonna win this race, no doubt
               in my mind.  We got the fastest car.
               We're just layin' back so we can make
               a spectacular come-from-behind win.

                               LESTER
               Yeah, and then, after we get all 
               that free publicity, we're goin' to 
               Hollywood.  Gonna get us our own TV 
               show.

     At the mention of the word they emit earsplitting rebel 
     yells.  Lester keeps a close eye in the rear-view mirror.

                               LESTER
               He's gainin'.

                               SONNY
                      (to Liberty)
               See, what we're really doin' here
               is layin' back for the Trans Am.
               Road narrows up ahead.  We're gonna
               show him once and for all who's
               king of the road in these parts.

                               LESTER
               Here he comes.

                               SONNY
               And here I come.  Pucker up, pretty.

     With that Sonny lunges for her, wet mouth all over her face
     and neck.  She fights back, appalled.

                               LIBERTY
               Stop!  I'll have you busted for 
               abduction!

                               SONNY
               What's that?

                               LIBERTY
               Kidnapping, you idiot!

     Sonny pays no attention, pinches her in a semi-intimate
     spot.  She screams.

     OMITTED

     ANGLE IN TRANS AM

     Michael sees what's happening ahead.

                               MICHAEL
               Looks like little Liberty bit off more
               than she can chew.

                               K.I.T.T.
               If you have any thoughts of rescuing
               her, Michael, I'd advise you to 
               check my schematic visuals.

     Michael presses the computer.  The visual shows the road
     narrowing into one lane ahead.

                               MICHAEL
               I see what you mean.  In that case,
               we'd better step on it.

     He does.

     THE TRANS AM AND CHARGER - MOVING SHOT

     The Trans Am leaps forward.  Lester floors the Charger,
     Liberty inside trying to fight off Sonny.

     HIGH SHOT

     The road narrows to one lane a hundred yards ahead.  The 
     Trans Am barrels past the Charger, swerves in ahead and 
     slows.  The Charger bangs into it but the Trans Am 
     continues to slow, forcing the Charger to do the same.
     Lester and Sonny yell and curse.

     ANOTHER ANGLE

     The Trans Am stops.  Lester throws the Charger into 
     reverse, backs up, the passenger door opens and Liberty
     comes flying out.  Michael gets out but before he can reach
     the Charger it's in motion, Sonny throwing her tote bag 
     out, which spills on the ground.  The Charger speeds off 
     with rebel yells, leaves them in a rain of dust.

     ANGLE ON LIBERTY

     Furious, she quickly gathers her stuff.  Michael approaches,
     her back to him.

                               LIBERTY
                      (angry)
               I don't need your charity!

                               MICHAEL
               Looks like you need somebody's.
               Unless you want to sit here and 
               eat more dust.

     ANGLE AHEAD

     We see the Charger coming, Lester's foot on it all the 
     way.  Camera pans to reveal a camera crew just ahead, 
     filming this particular leg of the race.  Camera continues 
     panning past the camera crew, zooming in on something high 
     on the hill above.  It's the figure of a man, his back to 
     us, unclear.  He's got something in his hand.

     CLOSE ON HIS HANDS

     The man presses a button on the small unit.

     ANGLE ON CHARGER

     A rebel yell for the camera crew as the Charger passes.
     Then a blinding flash of light and a thunderous explosion.

     ANGLE ON MICHAEL AND LIBERTY

     They react.

     THEIR POINT OF VIEW - THE CHARGER

     is a ball of flame.

                               LIBERTY
               My God...!

     Michael grabs her and pulls her to the Trans Am.  They leap
     in and leave with tires spinning.

     ANGLE AT CHARGER

     It burns out of control as the Trans Am barrels in, slides
     to a stop, Michael leaping out, Liberty not far behind,
     camera clicking off photos.

     CLOSER ANGLE AT CHARGER

     Michael tries to approach, but the flames are too intense.
     He backs off, realizing there's no hope anyway.

                               LIBERTY'S VOICE
               A little to your left.

     ANOTHER ANGLE

     Michael turns, sees Liberty busily taking photos.  He 
     stalks past her, slides into the Trans Am, pushes the 
     auto phone button.

                               MICHAEL
               Devon, it's Michael.  You'd better
               get a wrecker and a coroner's van 
               out here.  There's been another 
               accident.

     He starts back out, is stopped by K.I.T.T.'s voice.

                               K.I.T.T.
               Michael, that was no accident.

                               MICHAEL
               What?  How do you know?

                               K.I.T.T.
               My electronic sensors picked up a 
               detonation signal two milliseconds 
               before the explosion.

     Michael assimilates it, climbs out.

                               MICHAEL
               Thanks, Kitt.

     He moves to where Liberty stands, the camera to her face
     but no longer taking pictures.

                               MICHAEL
               Is that all this is to you?  An
               eight-by-ten glossy?

     She lowers the camera, turns to face him, and he sees the 
     tears running down her cheeks.  She starts to say something,
     can't find the words.  He relents, puts his arms around her 
     and comforts her.

     ANGLE ON CAMERA CREW

     Excited, they film every moment.

     ANGLE ABOVE CAMERA CREW

     The unidentified man packs up his gear and slips away,
     unnoticed.

                                              CUT TO

     EXT. PLUSH DESERT MOTEL - CIMARRON LODGE - DAY

     The staging area is the parking lot, banners flying in the 
     late afternoon breeze.  Because of the accidents there's 
     noticeably more interest, more people, national coverage,
     trucks from several networks present, lots of technical
     people running around intermixed with various spectators.

                               VOICES
               Here they come!  Look -- over 
               there.  Where?  Who's leading?  
               (etc.)

     People push forward for a better view.

     ANOTHER ANGLE

     Devon and Dr. Kempler appear, headed for a wood platform
     with a microphone on it.  Kempler looks depressed.

                               KEMPLER
               What a disaster.  Look at this -- 
               not a sober journalistic face to be
               seen.  Not a scientific quarterly 
               writer for miles.  It's turned into 
               a blood and guts destruction derby,
               a car-crash carnival -- fodder for 
               the six o'clock news.

                               DEVON
               Have you made a decision?

                               KEMPLER
               What choice do I have?

     Sellers appears behind them, hurries over.

                               SELLERS
               Doctor, you're not going to cancel
               the race....

                               KEMPLER
               I don't know what else to do.

                               SELLERS
               There's got to be another alternative.
               If you cancel now, it'll be interpreted
               as the failure of alternative energy.
               The entire concept will be set back 
               ten years.

                               DEVON
               Gentlemen, may I make a suggestion?
               Since our primary concern is the 
               safety of the drivers, why not let 
               them decide?

     Calmed for a moment, they consider it.  Devon doesn't want
     to let them consider too carefully.

                               DEVON
                      (smiles)
               Good.  I'll make the announcement.

     ANGLE AT STAGING AREA

     Some entrants have just arrived, struggle out of their cars
     with dirty faces, remove goggles, etc.  Others can be seen
     arriving, their times meticulously recorded by Ed Shaw on a 
     clipboard.

     ANGLE AT TRANS AM

     It pulls in and stops, Michael and Liberty climbing out.
     Shaw approaches, notes Michael's arrival time.

                               SHAW
                      (to Michael)
               No comments to the press without a 
               PR clearance.  Please join the other
               drivers at the staging stand.

     Michael nods, puts his arm around Liberty's waist.  She
     looks exhausted by the day's ordeal.

                               MICHAEL
               You okay?

                               LIBERTY
                      (nods)
               All I can think of is a hot bath and
               ten hours sleep.

                               MICHAEL
                      (a smile)
               No journalistic forays tonight?

                               LIBERTY
               Not tonight.

     ANGLE AT STAGING STAND

     Michael and Liberty join the other drivers, assembled in
     front of the stand.  Devon steps up, takes the microphone.

                               DEVON
                      (into mike)
               Your attention please...Thank you.
               I know you're all tired, and I know
               you all have questions to ask.
               Doctor Kempler and I request your
               attendance for a brief meeting in 
               the banquet hall at 7:30 sharp.
               Thank you.

                                              CUT TO

     INT. BANQUET ROOM - NIGHT

     The room has a step-up stage with a microphone, several
     dozen metal folding chairs, an accordion-like screen that
     serves as a room divider.  Present are Devon and Sellers,
     who flank Dr. Kempler at the microphone.  All drivers are 
     present, including Michael.  Ed Shaw stands to one side.

                               KEMPLER
                      (into mike)
               Thank you for coming, gentlemen...As
               you can imagine, there's been a 
               considerable amount of concern over
               what's happened.  And a variety of
               opinion as to whether or not the 
               race should be allowed to continue.
               Devon Miles came up with what I 
               believe to be the best solution --
               since it's really your race, and
               certainly your lives, he suggested 
               you be the ones to decide whether we
               continue or not.

     A buzz of reaction between the drivers.  Kempler waits 
     until it subsides.

                               KEMPLER
               All right, gentlemen.  Those in 
               favor of continuing, please raise 
               your hands.

     Virtually all hands go up.

                               KEMPLER
               Those opposed.

     One driver raises his.

                               KEMPLER
                      (to driver)
               You're free to leave.  I'm sorry we
               couldn't have provided a safer 
               testing ground for your entry.
               Thank you.

     The driver leaves.

                               KEMPLER
                      (to the rest)
               All right, we'll continue as 
               scheduled.  All drivers at the 
               staging area at seven am sharp for 
               the last and final leg of the race.
               Good luck.

     ANGLE OUTSIDE BANQUET ROOM

     The drivers exit, talking quietly among themselves.
     Michael and Devon appear.

                               DEVON
               We need to talk.

                               MICHAEL
               Just let me catch a quick shower.

     Devon nods.  They go their separate ways.

     ANGLE IN BANQUET ROOM

     The room is empty except for Sellers and Shaw, who is 
     leaving.

                               SELLERS
               Where do you think you're going?

     ANGLE BEHIND ACCORDION SCREEN

     Liberty is hiding there with a tape recorder, ready to 
     leave herself when she hears Seller's voice.  She stops, 
     puts her recorder on record.

     ANGLE ON SELLERS AND SHAW

     Shaw turns to face him, not intimidated.

                               SHAW
               Out.  Why?

                               SELLERS
               Are you crazy?  Psychopathic?  You 
               killed two people today!

                               SHAW
               Keep your voice down.

                               SELLERS
               To hell with my voice!  I hired you
               to arrange an accident or two, a near
               miss, a little excitement so I'd at 
               least walk away with a promotable 
               show.  Not death!  Not murder and 
               mayhem!

                               SHAW
                      (face-
                       to-face)
               You know what's wrong with guys like
               you, Sellers?  You want to have your
               cake and eat it too.  You want 
               accidents and explosions and thrills 
               and chills so you can sell what 
               would've been a turkey and keep your 
               sinking little cable network alive.  
               But you don't want any part of the 
               responsibility when --
                      (react)
               What was that?

     He looks in the direction of the accordion screen.

     ANGLE ON LIBERTY

     Her tape recorder has run out of tape.  It clicks, and the 
     record button pops up.  She's afraid to breathe.  She hears 
     movement.

     INTERCUT - SHAW

     He whips the screen back.  She's close enough to touch.

     ANOTHER ANGLE

     She gasps and runs but Shaw grabs her from behind, claps a 
     hand over her mouth.  She struggles to no avail.

                                              FADE OUT

                        END OF ACT THREE

                            ACT FOUR

     FADE IN

     EXT. CIMARRON LODGE

     The remaining five or six race cars are being tuned up and
     primed for the next leg of the race.  K.I.T.T. is notable
     for its absence.

                               PA VOICE
               Ladies and gentlemen, the final leg
               of the Alternative 2000 will begin 
               in thirty minutes.  Please check the 
               starting line up.

     INT. LODGE CORRIDOR - DAY

     Michael comes striding down the hallway, intent.  He stops
     at a room, knocks.

                               MICHAEL
               Liberty.

     He knocks again.  The door swings open.

     INT. LIBERTY'S ROOM - DAY

                               MICHAEL
                      (entering)
               Liberty, where are you?  I've been
               looking for you all ---

     He stops, having made the rounds of room, bath and 
     kitchenette.  No one's home.

     He shrugs, starts to leave...then stops.  His eye has 
     fallen on the night stand.  (Ideally, it's similar to, and
     positioned like, Michael's night stand at the first oasis.)  
     Michael thinks...shrugs.  Why should he be different than
     her?  He crosses to the drawers, opens them...and is surprised 
     to find them empty.

     Michael goes to the closet...also empty.  But Liberty's single 
     piece of luggage -- the soft-sided over-the-shoulder thing we 
     saw earlier -- is on the floor.  He picks it up, puts it on 
     the bed...rummages through it...stops as he finds something 
     unusual.

     CLOSER SHOT

     It's a grey piece of electronic equipment with a collapsible
     antenna...the same transmitter that blasted the Prince brothers
     to Confederate heaven (although Michael doesn't know that.)

     As Michael reacts, intrigued, we:

                                              CUT TO

     INT. CIMARRON LODGE - SHAW'S ROOM - TIGHT ON LIBERTY

     as a wide band of adhesive tape is placed across her mouth.
     We widen, see that her wrists and ankles are bound and she's 
     laying on a bed.

     Ed Shaw rolls her roughly over, checks the binding on her 
     wrists.  Clark Sellers pours himself a very high highball,
     wipes perspiration from his forehead.  He chugs the drink,
     pours another.

     Liberty makes some muffled cries, beats her still-mobile
     calves and feet against the bed.  Shaw rises from the bed.

                               SHAW
               I honestly think she makes more 
               noise with her mouth shut than she 
               did with it open....

                               CLARK
               Shaw...what do we do with her?  We 
               can't leave her like this forever....

                               SHAW
               We won't.  We have to get rid of 
               her....

                               CLARK
                      (aghast)
               Three deaths?  Ed, no ---

                               SHAW
               Damn it, Clark, will you face 
               reality?  She can burn us!

                               CLARK
               Yeah?  The reality is she's practically
               a celebrity herself!  There'll be 
               questions...an inquiry!  The woman 
               can't just disappear from the face of 
               the earth...!

     During Clark's speech, above, Liberty has been making 
     grunts and thuds akin to "right on!  You tell him!" etc.

                               SHAW
               She won't just 'disappear'...they'll
               find her...or what's left of her...
               at the site of the next 'accident.'

     Clark is puzzled.  Liberty's SFX become downright indignant.

                               CLARK
               What?

     Shaw comes closer to Clark, puts his arm around him.

                               SHAW
               Everyone's looking for a mysterious 
               saboteur, right?  Well...we're going 
               to give them one...a dead one.  It'll
               look like she made a mistake setting a 
               bomb...a fatal mistake.

     Pause.

                               CLARK
               Will it work?

                               SHAW
                      (smiling)
               I already planted the first clue.

                                              CUT TO

     INT. K.I.T.T.'S SEMI - DAY

     Pull back from the electronic device, again in Michael's 
     hand.  Devon and Bonnie look on, interested, as Michael 
     presses the button in front of K.I.T.T.'s scanner.  A light
     goes on on the device and we hear an electronic "humm."

                               MICHAEL
               Well?

     K.I.T.T. makes some computing sounds, then:

                               K.I.T.T.
               No doubt about it, Michael.  That is
               identical to the signal I monitored 
               two milliseconds before the Prince 
               brothers were...what is the phrase...?

                               BONNIE
               Blown to smithereens?

     Devon looks at Michael expectantly.  Michael averts his eyes.

                               DEVON
               Michael...it appears we've found our
               saboteur.

                               MICHAEL
                      (sarcastic)
               Really?  Then who's she working for?
               Detroit?  The Mid East?  Give me a 
               motive...and then ask me what I think.

                               DEVON
               I'll give you one, Michael...and it's 
               not nearly as Byzantine as the ones 
               we've considered.

     Devon turns, makes his point like a debater.

                               DEVON
               When this race started, it was of in-
               terest only to idealists and dreamers 
               ...but thanks to the events of the past
               few days, it's news...and Miss Cox has
               a camera bag chock full of negatives 
               that could command a fortune from maga-
               zines and newspapers all over the world.

                               MICHAEL
               I'm not sure, Devon.  It's too easy
               ...it's Hashi Al Qatar and the rifle
               all over again.

     Outside, we hear a klaxon-like signal.  Devon sees Michael
     is adamant, takes another tack.

                               DEVON
               The racers are lining up...Michael,
               whether we're right or wrong about 
               Miss Cox, our saboteur may be planning 
               more surprises for the last leg of the 
               race...you'd better go.

                               MICHAEL
               So that you can issue an APB for 
               Liberty after I leave?

                               DEVON
               What would you do?

     A moment.  Michael sighs.

                               MICHAEL
               The same thing.

     It's almost an apology.  Devon extends his hand.

                               DEVON
               Good luck.

                               BONNIE
               Be careful, Michael.

     He kisses her on the cheek, hops into K.I.T.T.

     EXT. SEMI - IN CIMARRON LODGE PARKING LOT

     K.I.T.T. backs out, makes a U-turn.  Camera adjusts as
     K.I.T.T. fills an open space in the line up.

     Shaw appears, takes a flag from an aide.

     A CAMERA CREW

     panning, covers the action....

     The racers rev their engines...Michael.  Andy Russell.
     Laura Switzer.  Hito Osaka.  Helmut Gras.

     DEVON AND BONNIE

     outside the semi, watching....

     CLARK SELLERS

     steps out of the main doors of the Cimarron Lodge, catches
     Shaw's eye...nods his head upwards as if to remind Shaw of
     their problem...Clark points nervously to his watch....

     SHAW

     nods confidently at Sellers, and then sweeps the flag
     towards the ground....

     THE SCENE

     as the five remaining cars leap away from the starting line.

     EXT. DESERT - RACE FOOTAGE

     Each car jockies for position.

     Andy Russell and Laura Switzer are neck and neck...Laura
     finally pulls ahead....

     K.I.T.T. appears behind her, passing Russell....

     In the lead, Osaka and Gras duel, neither giving an inch.

     K.I.T.T. comes behind them, allows Laura to pass and fight
     it out with them.

                                             CUT TO

     EXT. CANYON - DAY

     Where a narrow defile is the only route through.

     Camera tilts up to show a SCN van approaching the rim of the
     canyon.

     CLOSER SHOT

     Sellers and Shaw get out of the van, go to the back.
     Inside is a laundry bin...your basic hotel type.  And 
     inside the laundry bin is Liberty.  As she mutters barely 
     audible expletives, they haul her from the van and Shaw 
     cuts the bindings on her feet with a pocket knife.  Shaw 
     grabs a canvas bag of gear and then he and Sellers manhandle
     her towards some boulders.

                               SHAW
               Move it honey....

     She resists.  Shaw adjusts his grip...She suddenly kicks 
     out.  Shaw dodges just in time, laughs.

                               SHAW
               You're a hot one, sweetheart.  If 
               we had a little more time I'd help
               you work off that energy.

     He puts her down behind a large boulder...reties her legs.
     Then he starts on the bomb.

                               SHAW
                      (working)
               I'm setting this one with a fuse...
               When the dust settles they'll
               figure she screwed up and couldn't 
               get out of the blast area in time....

     Liberty squirms, yells through the gag.  Shaw takes out
     dynamite, attaches a fuse to the sticks.

                               SELLERS
               We have to hurry...I told the camera
               crew to get some runbys, but they'll
               be here in ten minutes.

                               SHAW
               Twenty minutes.  I took care of it.

                               SELLERS
               You took care of it?  Who do you
               think you are?

                               SHAW
               The new Vice President of Sellers 
               Cable Network.  Hand me that roll of 
               adhesive tape, will you?

     Sellers sputters, but complies.

                                              CUT TO

     EXT. DESERT - RACE ACTION

     Runbys of all our vehicles...K.I.T.T. in the middle of the
     pack.

                                              CUT TO

     EXT. CANYON RIM - DAY

     Pull back from the dynamite, which is wedged well up under 
     a rock.  We continue widening, see that a long fuse runs 
     from the dynamite to Liberty, who is a good ten-feet from 
     the charge.

     Shaw lights a match.  Liberty cringes.  Shaw touches it to
     the fuse, which immediately burns upwards.

                               SHAW
               Come on, let's go!  Nice knowing 
               you, sweetheart.

     Liberty mutters something the program standards won't pass 
     if we heard it.  Shaw and Sellers run to the truck, drive
     away.

     OMITTED

     EXT. DESERT - DAY

     More race runbys...then....

     LIBERTY

     struggling futily against her bonds, eyeing the fuse...
     and suddenly reacting to the roar of an engine.

     OMITTED

     EXT. BLUFF

     The camera crew is setting up.

                               CAMERA MAN
               Here they come...!

     The camera pans to shoot ---

     OSAKA, GRAS, K.I.T.T.

     entering the canyon in above order.

     LIBERTY 

     Hearing the cars below her, she tries to call for help....

     K.I.T.T.

     roars through the canyon.

     LIBERTY

     Her head sags in despair.  The fuse burns on.

     OMITTED

     INT. K.I.T.T. - TRAVELING

                               K.I.T.T.
               Osaka has taken the lead, Michael.
               He's just crossed Apache Wash and 
               entered the final stretch.

                               MICHAEL
               Kitt, somehow, I know we've missed 
               something.  Run the stats on everyone
               left in the race...the race course...
               everything.

                               K.I.T.T.
               Very well.

     Data begins appearing on the screens (all a replay of what
     we saw in Act Two).

     EXT. FINISH LINE

     (Note:  As indicated earlier, this is the same place the 
     circular race began, and also the same place where the 
     scribe began.)

     Red, white and blue bunting is on the grandstand.  A high
     school band plays.  A big "ALTERNATIVE 2000 FINISH LINE" 
     banner waves over the grandstand.

     The SCN van with Shaw and Sellers arrives.  They get out.
     Shaw goes to his pit crews and aides.  Sellers climbs up
     the grandstand, shaking hands repeatedly as he goes up.

     CLOSER - SELLERS

     as he greets Kempler, Devon and Bonnie.

                               PA VOICE
               The racers have just turned into the
               final stretch.  Helmut Gras is in 
               the lead, followed by Hito Osaka and 
               Michael Knight.

                               DEVON
                      (aside to
                       Bonnie)
               Uh-oh.

                               BONNIE
               What's wrong?

                               DEVON
               I just realized...I told Michael not 
               to win...but I don't think I said 
               anything about 'place' or 'show....'

                                              CUT TO

     OMITTED

     INT. K.I.T.T. - TRAVELING

     as a map of the race course appears.  Several green lights
     mark all the acute turns and hills.

                               MICHAEL
               Kitt, I think you made a mistake
               here.  There's only been three 
               accidents...not....

                               K.I.T.T.
               Michael, I was about to say that this
               is a readout of all the SCN camera 
               positions.

     Michael sits up alert.  Points.

                               MICHAEL
               But...this one...this one...and this 
               one...they're all in the same places 
               the accidents took place...That's 
               why I thought....

     He stops, getting an idea.

                               MICHAEL
               Kitt!..give me an overlay of the 
               accident sites...and leave up the 
               camera positions.

                               K.I.T.T.
               Right away.

     On K.I.T.T.'s screens, three red blips blink near three 
     green ones.

                               MICHAEL
               Kitt, every accident has been right
               in front of a camera crew!

                               K.I.T.T.
               Really?  Michael, the odds against a 
               freak accident being synchronistic 
               with a random deployment of cameras 
               is ---

                               MICHAEL
               I know what it is...suspicious!
               Remember what Devon said...about why
               Liberty might have sabotaged the 
               race?

                               K.I.T.T.
               To make her film more valuable?

                               MICHAEL
               Well, the same theory applies to our
               friend Mr. Clark Sellers...in spades!
               Where's the nearest camera position?

                               K.I.T.T.
               We just passed it...Apache Canyon.

     Michael throws the car in a U-turn, roars away.

     OMITTED

     LIBERTY

     The fuse burns shorter...shorter....

     INT. K.I.T.T.

     approaching canyon.

                               MICHAEL
               Kitt...give me a readout on this 
               canyon with all your scanners...
               visual...infrared...chemical
               detectors...the works!

     K.I.T.T.'s screens zoom in on the canyon...one screen is 
     normal telephoto, the other a graphic.

                               K.I.T.T.
               Michael!  There's an explosive 
               charge above us, on that wall...
               there's a person there, too!

                               MICHAEL
               What?  Go to maximum enlargement!
                      (beat)
               Wha...It's Liberty!

                               K.I.T.T.
               Michael, at the rate that fuse is 
               burning...we have less than twenty
               seconds to stop it!

     OMITTED

     EXT. CANYON FLOOR

     Michael swings the car around in a 180.

     INT. K.I.T.T.

                               MICHAEL
               Kitt!  Prime the forward retros!

     INSERT - CONTROLS

     Michael hits "Forward Retros" and....

     EXT. K.I.T.T. - STOCK FROM "PLUSH RIDE"

     K.I.T.T. flies upwards, propelled by the retro rockets.

     LIBERTY

     She's lost all hope...then she looks up, hearing ---

     HER POINT OF VIEW - K.I.T.T.

     appearing over the rim of the canyon, turning, and ---

     THE SCENE

     Slamming to a halt.  Michael jumps out, reaches for the 
     fuse...just as it burns so short under a rock that he
     can't reach it!

     Immediately, he whips out a knife, cuts the rope holding
     Liberty's ankles.

     With her hands still bound, and her mouth still taped, he
     pulls her into the car...as he does....

                               MICHAEL
               Kitt...burn rubber

     K.I.T.T. takes off while they're still half out.

     NEW ANGLE

     The charge blows up!

     CANYON - STOCK

     Rocks roar down the slope.

     INT. K.I.T.T.

     Debris rains down on them.  Liberty is struggling without
     success to untie her hands enough to remove her gag.

                               K.I.T.T.
               Michael, I'm monitoring the signal
               from the SCN cameras.

     CLOSER SHOT - SCREEN

     We see Sellers there...and Shaw, in the f.g.

                               K.I.T.T.
               Clark Sellers is waiting there.

     Liberty pounds excitedly on the screen, pointing with her 
     pinky at Shaw.

                               MICHAEL
               Huh?  What?  Shaw?  Shaw was in on 
               it, too?  Thanks, Liberty.

     Liberty mumbles, gestures.

                               MICHAEL
               Huh?  Oh, yes...the car talks...I
               guess.  Sellers caught you snooping
               around, huh?  What?  Oh, you want me
               to take off the gag?
                      (smiling)
               I don't think so.  This is the first
               conversation I've ever had with you
               where I got a word in edgewise.  Kitt,
               Sellers and Shaw will head for the hills 
               the minute they see us.  Give me some 
               overdrive.

     Camera tightens on Michael.

                               MICHAEL
               We're gonna win this race!

     EXT. DESERT 

     As K.I.T.T. becomes a blur, passes Andy Russell...then
     Laura Switzer.

     OMITTED

     EXT. FINISH LINE - DAY

                               PA VOICE
               And there they are!  Osaka and Gras
               are neck and neck...no, wait...Osaka 
               has taken the lead...two lengths...
               three lengths...he's way out in front!

     Shaw has joined Sellers near Devon and Bonnie.  Devon and 
     Bonnie share a pair of binoculars...Sellers has another 
     pair.

                               PA VOICE
               No, wait...Osaka has taken the lead...
               two lengths...three lengths...he's way
               out in front!  The Japanese entry is 
               going to take the gold!


     Sellers nods approvingly, passes the binoculars to Shaw.

                               SELLERS
               That's another ten million in the 
               Pacific market right there.

                               PA VOICE
                      (suddenly)
               No...wait...another car is coming
               up...the speed is...off the scale...!
               It's number eight....

     Devon and Bonnie react, startled; Sellers and Shaw (and
     everyone else) react as interested fans.

                               PA VOICE
               Michael Knight...he's passing Helmut 
               Gras...He's passing Osaka!  Michael
               Knight is in the lead!

                               DEVON
               I'll kill him!

     Shaw looks through his binoculars, makes a strangled cry.

                               SELLERS
               What's wrong?

     BINOCULAR SHOT - SHAW'S POINT OF VIEW - LIBERTY

     is clearly visible in the passenger seat.

     BACK TO SCENE

                               SHAW
               He's got Cox!

     (A matronly woman beside Shaw reacts, shocked.)  Sellers'
     reaction is equally startled.  The two men look at each 
     other, suddenly scramble down the grandstand, knocking 
     people aside.

     Sellers and Shaw run to a SCN vehicle, jump in.  They roar 
     out of the parking lot, swerve around the grandstand....

     OMITTED

     INT. K.I.T.T.

     All of the above is visible on the screens.

                               K.I.T.T.
               Michael, they're getting away.

                               MICHAEL
               Then we'll cut them off!

                               K.I.T.T.
               But the grandstand is in our way!

     INSERT - CONTROLS

     "Turbo Boost" is hit....

                               MICHAEL'S VOICE
               Not any more...!

     K.I.T.T. - SLOW MOTION

     leaps into the air, tears down the "FINISH LINE" banner,
     sails over the grandstand with room to spare and ---

     NEW ANGLE - K.I.T.T.

     lands in front of the escaping van, immediately throws a 
     ninety...The van swerves to avoid a collision and ---

     SCN VAN - SLOW MOTION

     It skids and rolls into a refreshment stand.  Soda pop and 
     orangeade turn into liquid firework.

     THE SCENE

     Sellers and Shaw are dazed.  Michael jumps out of K.I.T.T.
     as the crowd surges forward.  Liberty is finally unbound.
     She rips the tape off her mouth.

                               LIBERTY
               Ow!

     Michael runs to the van, pulls Shaw and Sellers out.  Shaw 
     falls to the ground, dazed.  Michael holds Sellers up by
     the lapels...and then suddenly Michael is surrounded by 
     well wishers...a trophy cup is pushed into his hands.
     Liberty grabs a camera from someone.

                               LIBERTY
               Mr. Sellers!  Mr. Sellers!

     Sellers turns, a bit dazed.

                               LIBERTY
               Say 'Levenworth'.

     As her flash illuminates the scene we:

                                              FREEZE FRAME

                         END OF ACT FOUR

                               TAG

     INT. DEVON'S OFFICE - DAY - TIGHT ON THE TROPHY

     from the Alternative 2000.  Widen to reveal Michael behind
     it.  Liberty is snapping flash pictures of Michael and the 
     trophy, and she's climbing up and over the furniture as she
     does.

     Bonnie sits nearby, amused...Devon rushes to catch
     something fragile before Liberty knocks it over.

                               LIBERTY
               Great...great...now look proud...now
               humble...humble...can't you do humble
               ...stop laughing...perfect perfect....

     Devon puts his hand over Liberty's lens.

                               LIBERTY
               Hey!

                               DEVON
               Miss Cox...please...I think you've
               wasted enough of your time....

                               LIBERTY
               I haven't even started to...wait a 
               minute, what do you mean 'wasted'?

     Michael rises, crosses to Liberty.

                               MICHAEL
               Well...what he means is...uh....

                               BONNIE
                      (gravely)
               Michael, you have to tell her sooner
               or later.

                               LIBERTY
               Tell me what?

                               MICHAEL
               Uh ---

     Bonnie puts her arm around Michael.

                               BONNIE
               About us.

                               LIBERTY
               You...?

                               BONNIE
               We're involved.

                               MICHAEL
               Bonnie!

     He breaks out of her grasp, approaches Liberty.

                               MICHAEL
               What she means is...we're involved
               here...all of us...in some sensitive
               work.  And publicity is something 
               that....

                               DEVON
               We could all do without, I'm afraid.
                      (a glare
                       at Michael)
               It's bad enough that Michael won the
               race, but that's water under the 
               bridge.

                               LIBERTY
               Please.  Don't say 'bridge.'

                               DEVON
               In any event, any further limelight
               for Mr. Knight could cause him 
               severe problems...
                      (beat)
               Not to mention the cessation of 
               his pay checks.

     Michael reacts.

                               LIBERTY
               You mean...?

                               DEVON
                      (extending
                       his hand)
               Your film must be surrendered.
                      (as she
                       hesitates)
               Voluntarily, I hope...otherwise...
               well, there are seventy lawyers
               alone in this building.
                      (softening)
               In return we could allow an
               exclusive interview with the winner
               of the race...discreetly done, of
               course.

     Liberty brightens, turns over the film.  Any further
     discussion is ended bu the rather boisterous entry of Hashi
     Al Qatar and Dr. Kempler.

                               QATAR
               Where is it?  Where is it?  Ah...
               there it is....

     Qatar grabs at the trophy.  Michael hangs on.

                               MICHAEL
               What's going on here?

                               DEVON
               Gordon...?

                               KEMPLER
               This is rather embarrassing, Devon,
               Mr. Knight...but since Mr. Qatar was
               disqualified in uh, manner that 
               was...Somewhat...uh....

                               QATAR
               Illegal!  Let go, please....

                               KEMPLER
               The uh, ambassador from his country
               has been in touch with the State 
               Department and uh....

                               QATAR
               You want another oil embargo?
               Knight, let go!

                               MICHAEL
               Wait a minute...are you saying...He
               won?

                               KEMPLER
               Of course not.

     He steps forward, yanks the trophy from both Michael and 
     Kempler.

                               KEMPLER
               Patience, Hashi.
                      (to Devon)
               But I'm afraid we're going to have
               to run the race all over again.
               Mr. Knight, are you entering?

                   MICHAEL                       DEVON
         Yes!                          No!

     Ad-lib remarks from everyone.  Liberty starts flashing
     pictures again.  Michael and Hashi get in a new tug-of-war
     over the trophy and we:

                                              FREEZE FRAME

                             THE END